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Abstract

Studying works allows us to see empirically the problem of instantiation of works, both at large and in the catalog. The linkage of relationships among works is a critical goal for information retrieval because the ability to comprehend and select a specific instantiation of a work is crucial for the advancement of scholarship. Hence, the present study examines the instantiation of works among a set of entities known to be popular-best selling books of the 20th century. A sample of best selling works (fiction and non-fiction) from 1900-1999 was constructed. For each work in the sample, all bibliographic records were identified in both OCLC and RLIN as well as instantiations on the World Wide Web. All but one work in the sample exists in multiple instantiations; many have large networks; and complex networks of instantiations have begun to appear in full text on the Web. The results of this study demonstrate the importance of continuing to gather statistical data about works. Solutions devised for the catalog will need to be modified for use in the chaotic environment of the World Wide Web and its successors.

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Abstract

The harmonization and extension of a taxonomy of works from the documentary to the artefactual domain represents an attempt to further knowledge sharing across cultural boundaries. The uses and users of works, both documentary and artefactual, are global-the need for this advance in the organization of knowledge is therefore also global. Works are the formal records of knowledge, the essential records of human accomplishment. Works are a global phenomenon despite potential cultural variations in their creation and instantiation, and the need to organize works for retrieval is likewise a global phenomenon. Artefacts (sculptures, paintings, realia, documents, books, scores, recordings, etc.) are the physical media collected by repositories of culture (libraries, archives, museums, etc.), and are the means by which works are communicated. Works mutate and derive across time and culture in response to their entrance into a canon of cultural meaning. In the present paper, we review the characteristics of documentary works. Then we extend the metaphor from the documentary environment to the artefactual environment. To carry the metaphor from the documentary domain to the artefactual domain we alter the terms of the definition slightly, thus: 1) instantiation is understood as content genealogy. an epistemological architecture of content-genealogy is presented, demonstrating the potential for mutation and derivation of the representations of artefacts. Case studies of Etruscan artefacts from the University of Pennsylvania Museum of Archaeology and Anthropology are used to demonstrate the inherence of the work in nondocumentary artefacts. An outline of a meta-theory of "works" is presented that harmonizes the documentary and artefactual domains.

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Abstract

Works are key entities in the universe of recorded knowledge. Works are those deliberate creations (known variously as opera, oeuvres, Werke, etc.) that stand as the formal records of knowledge. Core bodies of works-canons-function to preserve and disseminate the parameters of a culture. There is some evidence that popularity of works is a contributing factor to the phenomena of mutation and derivation. In particular, novels demonstrated the high incidence of both derivation and mutation of a popular literary work. Commercial interests combine with cultural forces to propel the evolution of popular novels as interest in them spreads across language and geographic boundaries. Earlier studies support a concept of the work as a collaborative entity that is changed over time by those who embrace it. The more popular the work, the more likely we will observe change over time. Cultural boundaries are crossed by the mutation of best-selling works, as their translations find collaborative roles in cultures different from that in which the work originated. The study of works that have appeared an best-seller lists (one measure of cultural embrace, or "popularity") might yield useful data for comprehension of the content and extent of the canon of popular works. In the present study, a sample of best-selling works (fiction and non-fiction) from 1900-1999 is examined. Preliminary evidence from the first phase of this study demonstrates the consistency of the theoretical functioning of works as cultural entities. That is, works that enter a canon derive and mutate dramatically, while those that do not remain unchanged. "Popularity" is not demonstrated as equated with "bestselling," but all best-selling books in the sample generated more than one edition.

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Date

12. 6.2008 20:18:22